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George Michael - Symphonica (2014) [High Fidelity Pure Audio Blu-Ray Disc]

Filename: George Michael Symphonica 2014 1080p AVC Blu-Ray DTS-HD MA 2.0
Duration : 1h 19mn 12s 900ms
Quality : 1080p
Video Codec : MPEG-4 AVC
Audio Codec : LPCM / Dts-HD Master Audio / Dolby TrueHD
Video :1920×1080 / 16:9 / 24 fps / 17.09 Mbps
Audio :
LPCM Audio English 4608 kbps /2.0 / 96 kHz / 4608 kbps
DTS-HD Master Audio English 3111 kbps /2.0 / 96 kHz / 3111 kbps
Dolby TrueHD Audio English 2631 kbps /2.0 / 96 kHz / 2631 kbps
Size: 9.78 GB

Live album by the English singer-songwriter. Debuting at #1 in the UK Albums Chart, the album features the single ‘Let Her Down Easy’ as well as popular hits ‘Brother Can You Spare a Dime’ and ‘John and Elvis Are Dead’.

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V.S.O.P. The Quintet - Tempest In The Colosseum (1977/2013) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: V.S.O.P. The Quintet
Title: Tempest In The Colosseum
Genre: Jazz, Post-Bop, Fusion, Jazz-Funk
Label: © Columbia Records
Release Date: 1977/2013
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: hdtracks
Duration: 01:09:46
Recorded live at The Den-En Colosseum, Tokyo, Japan, July 23, 1977.

Tempest in the Colosseum was recorded on July 23, 1977 in Tokyo's Den-En Colosseum. Musicians in this landmark performance were Herbie Hancock on keyboards, Freddie Hubbard on trumpet, Tony Williams on drums, Ron Carter on bass, and Wayne Shorter on tenor and soprano saxophones. The recording was originally released in late 1977, as a Japan-only release issued on the Columbia label.

Only five days after The Quintet concerts in California, V.S.O.P. was caught live again on tape in Tokyo's Den-En Colosseum for another Japanese CBS/Sony release. "Tempest" is a good description, for this CD contains more volatile ensemble playing than its Columbia predecessor; clearly some tighter bonding took place since the trans-Pacific flight. The notion that Freddie Hubbard is filling in for Miles Davis in a reunion of his old quintet does not have much relevance, for Hubbard is always his own man, in command of his reverberant tone quality and idiosyncratic flurries that owe very little to Miles. Only "Lawra" is duplicated from The Quintet, and there is the additional treat of hearing Hubbard's masterpiece "Red Clay" performed to a turn by this crack quintet. --Richard S. Ginell
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Tori Amos - Unrepentant Geraldines (2014) High-Fidelity FLAC Stereo 24bit/44.1kHz

Artist: Tori Amos
Title: Unrepentant Geraldines
Genre: Alternative rock, folk, baroque pop
Label: © Mercury Classics
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: hdtracks
Duration: 59:24
Recorded: Martian Engineering Studios Cornwall, UK, July 2012 – May 2013

Unrepentant Geraldines is singer-songwriter, Tori Amos' 14th studio album. She remarks, "I've always been inspired by visual artists of all mediums because, as with Music, Art is not a job you can go to and leave from; but it is something that defines who and what you are." After exploring the realms of classical music and expanding her creative mindset, Unrepentant Geraldines is Amos' return to the pop and alternative rock scene.

Unrepentant Geraldines -- its title so knowingly Tori it verges on parody -- finds Tori Amos delivering original songs, which isn't a common occurrence for her in the new millennium. Following on the heels of the interpretive 2012 set Gold Dust, it's the first collection of original material since 2011's Night of the Hunters, but it seems as if its roots stretch back even farther, as it is a bright, open collection, sometimes suggesting her early-'90s heyday but never pandering toward the past. There's a nice tension on this record, as Amos gives her hardcore fans what they want -- left turns tempered with introspection -- while also wooing the skeptics with melody and color, giving the record a bright, open feel that stands in contrast to the handsome solipsism that characterized many of her new millennial records. Strictly speaking, there's not much here that signifies as "pop" -- there are hooks, both melodic and rhythmic, but they seem almost incidental to feel, as the record flits between meditation and extroversion, its warmest moments also being its most intimate. Amos operates like a veteran liberated by her dedicated audience; she never once assumes she'll lose her audience, so she taunts them, sometimes seducing but often teasing, operating just outside of the parameters of what is expected or acceptable for Tori. That's the real pleasure of Unrepentant Geraldines: it's lush and melodic but also barbed, sometimes seeming dissonant but often consoling, its soothing qualities eventually turning disturbing. This has long been Amos' calling card, this shimmering space between comfort and pain, but Unrepentant Geraldines trumps its predecessors by accentuating its polarity; it either seduces with its sweetness or it provokes with its pain, and either extreme is compelling. --Stephen Thomas Erlewine

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Stan Getz, Charlie Byrd - Jazz Samba (1962/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Stan Getz, Charlie Byrd
Title: Jazz Samba
Genre: Jazz, Bossa Nova, Brazilian Jazz, Brazilian Traditions, Samba, World Fusion
Label: © The Verve Music Group
Release Date: 1962/2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: qobuz
Duration: 35:47
Recorded: Pierce Hall, All Souls Unitarian Church, Washington D.C., February 13, 1962.

Jazz Samba is a bossa nova LP by Stan Getz and Charlie Byrd, released on the Verve label on April 20, 1962.
Jazz Samba was the first major bossa-nova album on the American jazz scene. It was the real start of the bossa-nova excitement in America, which peaked in the mid-1960s. Though Stan Getz was the featured star of the album, it was very strongly inspired and designed by the guitarist Charlie Byrd. They were joined by two alternating bassists —Keter Betts and Charlie's brother, Gene (Joe) Byrd— and two drummers —Buddy Deppenschmidt and Bill Reichenbach— for the recording at All Souls Church, Unitarian in Washington, D.C. on February 13, 1962, and it was released on April 20, that year as Verve LP V6-8432.
Although it is often described as music by Brazilian composer Antônio Carlos Jobim, only two of the seven tracks on the album are Jobim compositions —"Desafinado" (Slightly Out of Tune) and "Samba de Uma Nota Só" (One Note Samba)— the rest being by other Brazilian composers and by Charlie Byrd. The two tracks composed by Jobim were released in Europe and the US as single (most commonly with "Desafinado" on the A-side). Getz won the Grammy for Best Jazz Performance of 1963 for the track "Desafinado", and went on to make many other bossa nova recordings, most notably with João Gilberto and Astrud Gilberto, and most famously "The Girl from Ipanema".
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Sibelius & Walton - Violin Concertos - Akiko Suwanai, City of Birmingham Symphony Orchestra, Sakari Oramo (2003 ) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Jean Sibelius (1865-1957), Sir William Walton (1902-1983)
Artist: Akiko Suwanai, City of Birmingham Symphony Orchestra, Sakari Oramo
Title: Sibelius & Walton - Violin Concertos
Genre: Classical
Label: © Decca is a Universal Music Company
Release Date: 2003/2012
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: prestoclassical.co.uk
Duration: 01:01:38
Recorded: Symphony Hall, Birmingham, 6 March 2002 (Walton), 26 June 2002 (Sibelius)

“Suwanai’s Sibelius was as evocative as it could have been. With a rare ability to combine precision and long-bowed resonance, Suwanai is an obvious match for this serious work...hers was a performance that reached deep into the heart of the music.” (The Scotsman, October 2011)

The full orchestra assembled for the evening’s centrepiece, Bruch’s Violin Concerto No 1 in G minor. Akiko Suwanai, a tall, imposing violinist of striking stage presence, raised her bow for a sombre, intense descent of notes at the start: this was big-boned, noble playing, with its rhythmic life taut and rigorous. Long-sighted phrasing gave an equal sense of wide tracts of space and time in the slow movement. The strength of every idea was beautifully placed and poised before a finale thrilling in its perfection of pitch and pacing. “ (The Times, May 2011)

“Seeing such a talented young violinist play this, the last of Mozart’s five authentic violin concertos, with such an instrument was pure joy. As Akiko took her lead from the Maestro, her great skill and lyricism went in perfect partnership with the Philharmonia, who allowed her to articulate the themes of Mozart’s work with a maturity seldom seem in one so young.” (Gazette, April 2011)
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Alexander Scriabin - The Piano Sonatas - Anna Malikova (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Alexander Scriabin (1872-1915)
Artist: Anna Malikova
Title: Scriabin - The Piano Sonatas
Genre: Classical
Label: © ACOUSENCE records
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: highresaudio.com
Duration: 02:15:22
Recorded: Campus, Krefeld-Fichtenhain, Germany, 18./19.3.2012; 21./22.2.2013; 28.2./1.3.2014

In 2015, we celebrate the hundredth anniversary of Alexander Scriabin's death. To commemorate this occasion, Russian pianist Anna Malikova and the ACOUSENCE label is issuing a new complete recording of the composer's ten piano sonatas, which will surely be regarded as definitive.

Scriabin completed his piano studies at what is today the Tchaikovsky Conservatory and, starting in Moscow, went on to have an international career. He himself was the first champion of his music, followed by Vladimir Sofronitsky, Heinrich Neuhaus and his pupil Lev Naumov. Naumov in turn was Anna Malikova's mentor for a period of 15 years, so with this background, she brings a high level of authenticity to these works.

Anna Malikova masters these sonatas, which test the very limits of piano technique, with impressive technical prowess and exceptional virtuosity. Not only does she display her deep understanding for the composer's mystical world, but also presents the incredible development of Scriabin's unique compositional style in a fascinating way. In his early years, he was still interested in the romantic, virtuosic tradition of Chopin and Liszt, only to break almost every compositional rule over the course of his career and blaze new paths.
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Scriabin & Medtner - Piano Concertos - Yevgeny Sudbin, Bergen Philharmonic Orchestra, Andrew Litton (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Alexander Scriabin (1872–1915), Nikolai Medtner (1880–1951)
Artist: Yevgeny Sudbin, Bergen Philharmonic Orchestra, Andrew Litton
Title: Scriabin & Medtner - Piano Concertos
Genre: Classical
Label: © BIS Records AB
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: e|classical.com
Duration: 62:42
Recorded: November 2013 at Grieghallen, Bergen, Norway

Yevgeny Sudbin has already demonstrated his great affinity with the music of the composers united here: in 2007, his Scriabin solo recital (BIS-1568) garnered universal acclaim – ‘the most well-chosen, brilliantly played single-disc selection of Scriabin's piano music currently available’ wrote ClassicsToday.com – and his recordings of Nikolai Medtner’s first and second piano concertos (BIS-1588 and BIS-1728) were likewise widely admired, with the first disc receiving a Gramophone Award nomination and the second being dubbed an ‘Essential Recording’ in BBC Music Magazine. For the present disc, Sudbin has written his own liner notes, stating with conviction his opinion that both concertos are ‘absolute masterworks – unjustly underperformed and constantly underappreciated’. He goes on to make a fascinating comparison of the two ‘radically different’ works, composed by near contemporaries, but 45 years apart: Scriabin wrote his one piano concerto in 1896 at the age of 24, while Medtner began his Third Concerto in 1940, at a ripe 60. As Sudbin points out, it would be natural to expect the later concerto to be more ‘modern’, especially given the radical advances that took place during this period. Nothing could be further from the truth, however: ever the visionary, the young Scriabin wrote a concerto which may appear relatively conventional compared to his later works, but still sounds more experimental than Medtner’s Third. With great empathy for, and insights into each composer, Yevgeny Sudbin takes on the great challenges – musical as well as technical – posed by their two works, with the eminent support of the Bergen Philharmonic Orchestra, which under chief conductor Andrew Litton has repeatedly proven itself in Russian repertoire by Rachmaninov, Prokofiev and Stravinsky.
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Red Hot Chili Peppers - Blood Sugar Sex Magik (1991/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Red Hot Chili Peppers
Title: Blood Sugar Sex Magik
Genre: Rock, Alternative/Indie Rock, Funk Metal
Label: © Warner Bros. Records
Release Date: 1991/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: PonoMusic
Duration: 01:13:51
Recorded: May–June 1991 at The Mansion in Los Angeles

Blood Sugar Sex Magik is the chart-topping fifth studio album by American rock band Red Hot Chili Peppers, released on September 24, 1991. Produced by Rick Rubin, it was the band's first record released on Warner Bros. Records. The musical styles of Blood Sugar Sex Magik differed notably from the techniques employed on the Chili Peppers' preceding album, Mother's Milk, and featured little use of heavy metal guitar riffs. The album's subject matter incorporated sexual innuendos and references to drugs and death as well as themes of lust and exuberance.
Peaking at number one in Australia, New Zealand and Canada, and at three on the United States' Billboard 200, the album has sold over 13 million copies worldwide and was the Red Hot Chili Peppers' introduction into worldwide popularity and critical acclaim. Blood Sugar Sex Magik produced an array of hit singles including the hugely successful "Under the Bridge". The other four singles released were "Give It Away", "Suck My Kiss", "Breaking the Girl", and "If You Have to Ask". Guitarist John Frusciante quit the band mid-tour in 1992 (not returning until 1998) due to his inability to cope with the album's popularity. Blood Sugar Sex Magik is recognized as an influential and seminal component of the alternative rock explosion in the early 1990s. Steve Huey of AllMusic noted that Blood Sugar Sex Magik is "...probably the best album the Chili Peppers will ever make."
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Allan Pettersson - Symphony No.9 - Norrkoping Symphony Orchestra, Christian Lindberg (2013) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Allan Pettersson (1911–80)
Artist: Norrköping Symphony Orchestra, Christian Lindberg
Title: Pettersson - Symphony No.9
Genre: Classical
Label: © BIS Records AB
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: e|classical.com
Duration: 70:11
Recorded: January 2013 at the Louis de Geer Concert Hall, Norrköping, Sweden

Allan Pettersson composed his Ninth Symphony in 1970, two years after the Seventh had been given a triumphant première conducted by Antal Dorati. This had brought him greater recognition than ever before, but at the same time his health was deteriorating even further, and shortly after completing the Ninth Pettersson was hospitalized for a period of nine months. It is striking that he at such a time should have chosen to compose what is the longest of all his works – in the score Pettersson himself estimated the duration to ‘65–70 minutes’, and the first recording of the work actually lasted for more than 80 minutes. As so many of the symphonies, the work is in one single movement which may be described as an extended struggle in which harmony is the ultimate winner. As Pettersson himself had said about an earlier work: ‘If one fights one’s way through a symphony one needs to achieve consonance and harmony even if it takes twenty hours to do so.’ In the case of the Ninth, this harmony is summed up more concisely than ever before or after, in the final two chords which form a plagal or ‘Amen’ cadence in F major. Completing a cycle for BIS of Pettersson’s symphonies, Christian Lindberg and the Norrköping Symphony Orchestra have been receiving great critical acclaim for previous instalments – most recently a Sixth described in International Record Review as ‘a release that could well be the ideal introduction to Pettersson’s singular musical vision’. About the same disc, the reviewer in Gramophone wrote: ‘Lindberg’s empathy for Pettersson’s music is once again shown in the Sixth, where he catches its dark atmosphere to perfection, pacing its progress through the succession of climaxes superbly well.’
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Neil Young - Neil Young (1968/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Neil Young
Title: Neil Young
Genre: Rock, Folk Rock, Country Rock
Label: © Reprise Records
Release Date: 1968/2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: PonoMusic
Duration: 00:36:25
Recorded: August – October 1968 at Wally Heider Recording, Sunset Sound Recording and TTG Recording, Hollywood, CA

On his songs for Buffalo Springfield, Neil Young had demonstrated an eclecticism that ranged from the rock of "Mr. Soul" to the complicated, multi-part arrangement of "Broken Arrow." On his debut solo album, he continued to work with composer/arranger Jack Nitzsche, with whom he had made "Expecting to Fly" on the Buffalo Springfield Again album, and together the two recorded a restrained effort on which the folk-rock instrumentation, most of which was by Young, overdubbing himself, was augmented by discreet string parts. The country & western elements that had tinged the Springfield's sound were also present, notably on the leadoff track, "The Emperor of Wyoming," an instrumental that recalled the Springfield song "A Child's Claim to Fame." Still unsure of his voice, Young sang in a becalmed high tenor that could be haunting as often as it was listless and whining. He was at his least appealing on the nine-and-a-half-minute closing track, "The Last Trip to Tulsa," on which he accompanied himself with acoustic guitar, singing an impressionistic set of lyrics seemingly derived from Bob Dylan's Highway 61 Revisited. But double-tracking and the addition of a female backup chorus improved the singing elsewhere, and on "The Loner," the album's most memorable track, Young displayed some of the noisy electric guitar work that would characterize his recordings with Crazy Horse and reminded listeners of his ability to turn a phrase. Still, Neil Young made for an uneven, low-key introduction to Young's solo career, and when released it was a commercial flop, his only album not to make the charts. (Several months after the album's release, Young remixed it to bring out his vocals more and added some overdubs. This second version replaced the first in the U.S. from then on, though the original mix remained available overseas.) --William Ruhlmann

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